17 October 2016

‘Of River and Lost Lands’ will be shown at Dispatches – Live News Through Art: An Exhibit from The Southeastern Center for Contemporary Art in Partnership with the Pulitzer Center On Crisis Reporting.

Dispatches gathers and generates artistic responses to the news by 34 contemporary artists and photojournalists. The exhibition includes a survey of works from 2010 – present and launches a series of commissions, or “dispatches” on current events and the critical issues of our time.

The art works emerge from within and in defiance of today’s media landscape, ranging from real-time coverage to deliberately slow and analog forms. They enlarge our collective capacity to sensitively receive stories delivered in today’s unevenly regulated and fast flow of news. They decelerate the speed of information. Or, they organize collective efforts toward a more humanizing interaction.

Dispatches is divided into five thematic zones: Post-9-11 Realities; Borders and Migrations; Ecological Justice; New Forms of Social Action; and the 2016 US Presidential Election. An exhibition is a forum—one of the few public commons designed to cultivate our ethical and civic capacities to grapple with what is happening in our world. Dispatches invites you to enliven this forum and say something.

Dispatches educational outreach is realized in partnership with the Pulitzer Center on Crisis Reporting, a non-profit journalism organization dedicated to raising awareness of under-reported global issues through direct support for journalism and educational outreach.

7 October 2016

Thom Yorke, 2016. Photogrpah © Sarker Protick / VII

It was late 2006, I was desperately looking for new music, new sound. At that point ‘The Doors’ was the most relevant (still is) but I was already through their discography several times, and the world was not the same anymore. The bar was set a lot higher. Nevertheless, the search for new sound continued.

The name ‘Radiohead’ was not unfamiliar. As a matter of fact I did try listening them few times before but couldn’t really like it. Now I understand that my brain simply was not ready to recognize the depth and the complexity of their work. And by brain it’s not just intellect but also heart/mind/guts. As the phrase goes, ‘‘I wasn’t born yet.’’

Anyhow, I decided to give another go and this time I picked the album “Amnesiac”, as I was interested about amnesia so that felt appealing. The track title was ‘The Pyramid Song’. The sound that came through my earphones seemed coming out from a different earth. As if it was written by a different civilization from distant stars. But the emotion it carried was deeply human. I never heard anything quit like this. Although they are a British Band, the sound don’t resemble to Brit Music or any other countries per say. The hunting Piano riffs, the very odd drum patterns, the orchestral arrangement and the ambient textures were blended with a voice that is so unique, it was unlike anything of this earth. I realized it didn’t matter where I/listener come from or where the origin of the artist is. It is when the artist creates such a beautiful universe, which we can inhabit! We are able to experience all the emotions that pulse through our vein, send signals to our brain and the brain gets stimulated by the rush of blood it receives. We can live inside it, spend hours after hours, in our saddest and darkest time and dance through it. It is the purest form of art to me.

That next year they released, In Rainbows. Since then, it’s been almost 10 years I am growing up with their music. Never disappointed but only amazed and surprised and inspired of what they can create. This summer, I went to see them live for the first time. Before my very eyes I saw something extraordinary beautiful and unreal. Words can never achieve the vocabulary to describe it.


Dhaka, 2016

Special thanks to:
Giana Choroszewski: For helping me to arrange the press pass.
Francesca Sara Cauli: For your support around the stage.
Bego Anton: For the Camera.
Arnau Bach: For the Lens.
Valerio Berdini: Texting me stage tips from London.
Emily Wabitsch: Partner in crime.


‘Astres Noirs’ is shortlisted for Paris Photo Aperture Foundation first book award.

Review by Robert Dunn on Photo Book Store Magazine:

“What do we do with black and white these days? Photographers can of course still shoot film, process it, print it; they can chase masters such as Garry Winogrand and Bruce Davidson as if it’s still forty, fifty years ago. But if a photographer wants to bring black and white into the current century—modernize it, exploit all the current possibilities—then what to do?

One approach that caught me at last year’s New York Art Book Fair was Antony Cairns’s LDN EI, in which he put his high-contrast black-and-white images on a hacked Kindle. Clicking through the “book,” you saw less a photo and more an arrangement of tones. I bought the Kindle version of LDN EI (still available), yet passed on the printed version—it wasn’t as interesting, not as pure an experience.

One exciting thing about Katrin Koenning and Sarker Protick’s Astres Noirs is that it brings experiment and new technology in black and white back into a physical, bound book—indeed, one of those photobooks that could only be an actual book. But what intrigues me most about Astres Noirs is that in a way it understands that it’s not black-and-white photography at all, but something else instead.

You get a clue to what’s going on as you open the book and find the words “All colours … within black.” Then you realize that half-hidden under a folded sheet is the word disappear, so the phrase reads, “All colours disappear within black.” And that’s what Astres Noirs is: a book of photos in which the colors have been removed. We call it black and white (or, as we’ll see, more accurately black and silver) because that’s what we’re used to, but in truth the book is onto something else. Just look at the title: In English, Black Stars. This book is not called Black Holes. Light and form do not disappear but instead shine forth, but mysteriously, ambiguously, contradictorily.”

Read more: Photo Book Store Magazine


1 October 2016

Mother. Coxs Bazar, Late Autumn 2016.


30 September 2016


It is no longer possible to imagine a world without photography. In our digital age anyone can pick up a camera to produce a ‘good’ image and share it with the world. Cheaper, better, user ­friendly technology and ease of access to online platforms have blurred the line between the professional and the amateur. A new culture of producing and consuming photographs is at work, challenging the profession of photographer as we used to know it, yet at the same time allowing us to express ourselves in innovative ways to a range of potential audiences on a global scale.

As a web­ technology company in the photography industry, Viewbook is directly involved in translating new technologies and needs into meaningful possibilities for photographers. At a time when technology, globalization and the internet are having such great impact, we are curious to find out how photographers see those changes and how they work with them.

Viewbook Transformations is a program designed to explore these new challenges to photography and is aimed at promoting high­quality work, especially the use of photographs as part of a sustained in­-depth narrative. The program includes an annual $5,000 grant, and publishes visual stories. To spark dialogue we have assembled an expert team (see below). Guest writers will share their ideas and vision on changes in photography.

Examples of themes that will be explored within the Transformations program are:

    • Which current developments affect visual storytellers and how?
    • What does it mean to be a photographer today, and how does one make a living doing so?
    • How do technological developments change the way in which stories are produced, and does form affect content?
    • How can photographers best reach and engage an audience?

Transformation Experts:

Arianna Rinaldo
Donald Weber
Giuseppe Oliverio
Sarker Protick
Tanya Habjouqa

More info about the grant:





This week I am hosting the ‘Photographic Museum Of Humanity’ instagram and will be sharing selected works.

28 September 2016


(Pathshala rooftop: Photo by Nishat)

The opening day of the exhibition ’19’. The date should have been 12 August. For unknown reason I wrote July on the Polaroid print .

Putting up the exhibition was difficult. From curating to physically setting up the works, it was all in one week. But these boys made it possible. The last six months they have worked very hard. Well maybe, not all of them. Some were dumb, clueless or just being plain lazy, coming up with many excuses. (the worsts are not in the picture thankfully). But the others were curious, passionate and hardworking. But I still have high hopes from all of these guys and together they are a fantastic group. I will miss them. And I will miss the daily feast. My best wishes for them.

Dhaka, September 2016


“Astres Noirs” will be presented at ‘Look up at the sky’ in Barcelona curated by Pedro Torres.

Look up at the sky és un cicle de cinc exposicions centrat en la fotografia contemporània a través d’un dels seus principals mitjans de materialització: el fotollibre. Les exposicions que integren el cicle mostraran una vintena de projectes fotogràfics recents d’autors nacionals i internacionals. La selecció de projectes se centra en la relació de l’ésser humà amb el seu entorn, especialment el natural i el de la naturalesa de les coses, a la cerca d’una comprensió global, potser cosmogònica, de la seva ubicació o existència en un context més ampli, cosmològic.

Els fotollibres es presenten agrupats en cinc conceptes: cosmologies, geografies, geoligies, gramàtiques i combinatòries, disciplines que estan relacionades amb el nostre intent de comprensió del món. Com afirmava Humbolt, “el reflex del món exterior de la persona, les impressions de la Naturalesa que l’envolta i les disposicions físiques influeixen per més d’un concepte en la formació misteriosa de les llengües. La persona treballa al seu interior la matèria que li subministren els sentits, i els resultats d’aquesta operació interna són tant del domini del Cosmos, com els fenòmens sobre els quals es realitza”. Així, cada projecte posseeix i reflecteix un món propi a través del llenguatge inherent. I amb tots ells procurarem fer el que el saberut alemany negava a la ciència, “perdre’ns a les regions nebuloses de les fantasies cosmològiques”

Pedro Torres.
Comissari de Look up at the sky (Terrassa Comissariat 2016)



27 September 2016

“Writing Photographs’- a workshop that i gave this year’s edition of Obscura Festival, Penang, Malaysia.


The produced body of works examine and explore urban spaces and the dichotomy of it. A space that never feels still but always in transition, on the move.

While some individual have worked with the physical space others reacted in a more instinctive and emotive response to it. Their critical observation varies from the highly consumeristic surroundings to the state of absolute nothingness. The subjects of theirs stories ranges from conventional photographic topics to the most banal. Collectively they have created a complex narrative of Georgetown, Penang.

While the social media ‘Likes’ and Instagram feeds are feeding our visual appetite every hour, the quality of the contents are debatable. How much of it stays in our mind and for how long? Or do they all function similar like ‘Snapchat’, disappear from the existence. As a storyteller do we adopt the new media? How much of it is a necessity? And how much of it is just noise. It’s also worthwhile to think about if this technological advancement are affecting our taste or limiting our visual possibilities. Does it allow us to be sensitive enough to go in depth of a story? Do the works live in our consciousness?

“Writing Photographs’ is an interface questioning all these contemporary platforms and trends and preferably going old school. The participants will produce short stories and will be encouraged to think before making work, to write before pressing the button. How do we incorporate ‘Text’ with our photographic language? How do we transform it into a form rather than functioning as a caption? Or how is it that we can use the photographs as captions? The objective is to develop works where the author is more vocal even if it does not fit in the current and popular structures of storytelling.

Participants are requested to bring a Pen, a notebook and a camera.


What Remains’ will be exhibited in DAEGU PHOTO BIENNALE 2016 in the main curated show “We are from somewhere, but where are we going?” in Daegu, Korea.

“We are from somewhere, but where are we going?”

The ‘2016 Daegu Photo Biennale’, celebrating its upcoming 10th year of exhibition, will be based on the theme, “We are from somewhere, but where are we going?”. The exhibition is inspired by creativity, experimental spirit, time (history), space and the environment of Asia, which will be epitomized in the Main Exhibition and Special Exhibition 1 and 2.

As we have entered the present 21st century, people transcending national boundaries and the massive flow of information is drastically accelerating, and based on the energy that is leading these trends, Asian countries have been experiencing cultural closeness and complex historical interaction. The prevalence in the tremendous flow of energy is changing the overall situation in Asia, has put humans into a state of anxiety and is constantly motivating us to overcome ourselves. That is the reason for entitling the Main Exhibition, “Asian Express”, which embodies “drastic flow” and “individual expression”. From the Main Exhibition, we will be able to newly acknowledge our own existence as well as have a look into how each artist have understood this energy.

More info: http://daeguphoto.com/en/